Materials and Practises in Drawing

Code:

PMDN1

Acronym:

PMDN

Keywords
Classification	Keyword
OFICIAL	Drawing

Instance: 2023/2024 - 1S

Active?	Yes
Web Page:	http://https://gravura.fba.up.pt/home/investigacao/
Responsible unit:	Desenho
Course/CS Responsible:	Master in Fine Arts

Cycles of Study/Courses

Acronym	No. of Students	Study Plan	Curricular Years	Credits UCN	Credits ECTS	Contact hours	Total Time
espGrav	1	Plano de estudos de Especialização em Gravura	1	-	6	45	162
MAP	11	Plano de Estudos do MAP_Publicação em DR de 31 de agosto de 2020	1	-	6	45	162

Teaching language

Suitable for English-speaking students

Objectives

Objectives:
- To create a space for reflection on the nature, actions and the implications of different procedural drawing and printmaking tools, in particular on the techniques, processes, tools, media and technological means;
Developing the theoretical and practical knowledge and vocabulary specific to drawing and printmaking based on the historical evolution of its means and techniques;
To develop practical work and a critical discourse by being aware on the role of the tools used; Supporting the workshop and studio space in the consolidation of learning in strategic technology areas for the development of artistic practice, and towards its expansion;
To know and test in a directed and systematic selection of a technological components or stages of work of the practice of drawing in order to establish their fundamentals and replicable methodologies to inform in more complex contexts;
Work and expand the creative and experimental aspects which assist in the production of drawing and printmaking punctually, through the initiation to technology projects of short duration, conducted by a route based on methodological and historical review and update their practice learning outcomes;
To circumscribe technological learning by attending demonstrations on techniques and procedures related complementary to initial training, described in final report; The application in the production of a portfolio images which demonstrate the mastery of the methods introduced and agreement of them with a personal investigation; Development of an individual project consistent with the objectives and appropriate means to these ends, monitored and guided by the teachers responsible for the course; Developing skills to work independently or in collaboration in order to continue the practice of producing and editing after the training period; Acquiring and developing the skills and expertise, references to the conceptual drawing and printmaking work; Identifying, developing and consolidating knowledge about the techniques and processes of drawing and printmaking most appropriate for the work in progress; Learning how to maximize the use of available equipment and time in the workshops, participating actively in the environment of sharing and interdependence as well as the definition of patterns of interaction with more specific area of drawing; Developing editing and printing skills, presentation and time management, resources and equipment workshops for the implementation of the project personal or collective

Learning outcomes and competences

Skills:
- acquisition and developing skills and technical knowledge, conceptual references for the work of drawing and printmaking
- identify, deepen and consolidate knowledge about the techniques and processes of drawing and printmaking most appropriate to their work;
- development of skills to understand the complex relationships between graphic signals and visual culture.
- development of skills to work independently or in close collaboration so as to continue with the practice after the training period.
-development of practical skills based on the use of serial graphics and reprographic techniques applied to the development of autonomous experimental projects

Working method

Presencial

Program

The course is developed in two sequential program modulesdedicated to the introduction of Material Practices: between the material imagination and the cultural codes of drawing.

The first module focuses on exploring cultural codes and the meaning of the materiality of drawing. How are the means and processes of drawing shaped by the social and historical events that surround them? What do the processes and means reveal about the sensitive and embodied experience of the designer and his environment? What continuities and ruptures are established between the old and new means of drawing?

 

1.  Obsolescence and remediation in contemporary drawing practices: a critical reassessment of the means and processes in the history of drawing. Exploration and testing of practices made obsolete in the history of drawing, and their discursive possibilities in current drawing.
2. An experimental practice based in the study of primings 

The second module, connecting drawing processes and their translation and appropriation through serial graphic techniques. The relationship between new technologies and the use of means of reproducibility and multiplication of the printed image located within the scope of photomechanical fine art print and lithography in situ are chosen as case study. The material properties of processes and their potential as a historical, political, and aesthetic expression within a coherent artistic practice are reassessed.

1. Translation and appropriation: awareness and observation in reproductive practices. Technological archeology and essay on recreated past research in FBAUP aimed at technological deceleration and the development of new technological paths.
2. Image transfer between media as an experimental principle: pre and post photographic transfers. Essay on autographic and photomechanical processes. The use of drawing substrates and media from a material context associated with graphic arts as a means of reproduction and deviation.

Mandatory literature

Carmen C. Bambach; Drawing and painting in the italian renaissance workshop. ISBN: 0-521-40218-2
Jay David Bolter; Remediation. ISBN: 0-262-52279-9
Deanna Petherbridge; Deanna Petherbridge. ISBN: 978-0-9957524-1-2
Lee Hendrix; Noir. ISBN: 978-1-60606-482-5
Ruth Pelzer-Montada; Perspectives on contemporary printmaking. ISBN: 978-1-5261-2575-0
Christophe Cherix; Print/out. ISBN: 978-0-87070-825-1

Complementary Bibliography

Mayer Ralph; Materiales y técnicas del arte. ISBN: 84-87756-17-4
Ross John; The^Complete printmaker. ISBN: 0-02-927372-2
Schweidler Max; The^restoration of engravings, drawings, books, and other works on paper. ISBN: 978-0-89236-835-8
HOCKNEY, David ; Secret Knowledge: Rediscovering the Lost Techniques of the Old Masters , Thames and Hudson , 2006
Bosse Abraham; Tratado da gravura a agua forte, e a buril, e em maneira negra com o modo de construir as prensas mo
Lambert Susan; The^Image multiplied. ISBN: 0-86294-096-6
Elizabeth A. Pergam; Drawing in the twenty-first century. ISBN: 978-1-138-56486-2
Peter Parshall; The^unfinished print. ISBN: 0-85331-820-4
James Watrous; The^craft of old-master drawings. ISBN: 978-0-299-01425-4
SCHWALB, Susan ; Silverpoint and Metalpoint Drawing: A complete guide to the medium, London and New York: Routledge.
Ellen Mueller; Remixing and drawing. ISBN: 978-0-8153-9244-6
Ad Stijnman; Engraving and etching 1400-2000. ISBN: 978-0-7553-1623-6
Gaston Bachelard; L.eau et les rêves

Teaching methods and learning activities

Theoretical and practical sessions of presentation and analysis of contents and technological procedures. Sessions developing the practice implied from the technical hypotheses presented and already tested and those that arise from an individual exploration of the statements. Tutorial actions of orientation and collective and individual criticism to the different types of research produced. Consultation of the collection of drawings and prints and study of specimen. Presentation, discussion and concretization of an individual research project about procedure or term of interest of the student. Individual presentation of the work with project documentation through a "project notebook" and writen short essay. Development of individual practical proposals based on the contents of the two thematic modules.

Evaluation Type

Distributed evaluation without final exam

Assessment Components

Designation	Weight (%)
Participação presencial	10,00
Trabalho prático ou de projeto	70,00
Apresentação/discussão de um trabalho científico	10,00
Trabalho escrito	10,00
Total:	100,00

Amount of time allocated to each course unit

Designation	Time (hours)
Apresentação/discussão de um trabalho científico	10,00
Trabalho de investigação	80,00
Trabalho escrito	10,00
Total:	100,00

Eligibility for exams

Distributed evaluation without final exam.
Full compliance with the proposed work program in each of the three modules,
in accordance with the objectives of the course unit.

Calculation formula of final grade

The capacity of collective and individual projects will be evaluated, based on a work program common to all the students. The capacity of projectual realization will be evaluated, as well as the quantity and quality of the theoretical and technological resources that each student uses in their theoretical and practical researches. The discussion points about the projects will be evaluated in a valuation perspective of the methodology, and of its processes, and not only the final product. The participation and learning of the collective demonstrations will be evaluated, as evidenced by the final report compiled in the "project book " and writen short essay. The attendance, integrity and responsibility of the student will be evaluated, in view of the good functioning of the sessions. The activation of the space of the workshop and its resources, variety and adequacy of resources to the problems raised,as well as the fulfillment of the previously established deadlines that relate to them. The final classifications will be calculated according to the evaluation of the work developed, and the following parameters, in the following formula: 45% (module 1) + 45% (module 2) + 10 (global frame) = 100%

Classification improvement

By attendance of the following school year.